…..And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
The Robert Frost poem ‘The road not taken’ has always been one of my favourites, “I took the one less traveled by, and that has made all the difference could be an epithet of my husband’s and mine. It is starting to become clearer that the creative process is a journey. Not that we didn’t know that, but we are at point where we can reflect backwards and look forwards more. My husband’s work is truly evolving, progressing in a way which seems meant to be.
His work started in clay, because that was what we could afford and with space limitations, the scale we could manage. So his hands gave form to clay.
He always talked to me about his attempts to produce an outline. Distinctly remembering a co-student at university who was doing beautiful paintings but putting a black line around everything, when the tutor had commented that, that isn’t how we see things, the student replied back , it was how he saw things. Thus began my husband’s obsession with trying to create the black outline of a 3D object. Almost an annihilation of the body and form and a preoccupation of what makes it so. Theses paintings show the idea and the exploration of that a line gives.
My own personal spiritual journey mirrors that of the sculptural journey, removing the focus on our body and form and seeking a deeper meaning and purpose to this life. So with the clay sculptures it was very much about the light and shadow and minimising the human form with curvature. With a little bit of expansion into wood, he developed a series of wooden forms with small figurines exploring the human condition but still looking at the idea of the outline that was being created. The more we strip away at our own personal desires and take away the superficial aims of money and materials, what are we here for?
As a teenager my time working in a nursing home for the elderly gave me a stark reality that the time here is fleeting and that in old age we physically become a shadow of ourselves in youth. There must be a deeper meaning to it all. As we verge on the cusp of our spiritual retreat, precious days to focus on our hearts. Time to reassess, re-prioritize and recognize the most important things in our lives. To understand what we are doing here. “Where, then, are you going?”
With the meeting of a steel fabricator there was movement into a new medium, enabling the shape of the human figure to be minimised more. In almost a fusion of the clay work and the wooden work a new series was created. The light and shadow create the outline in much of this pyramidal and obelisk work.
The addition of colour became a uniting tool for the journey of sculptures and enabled another layer of meaning to be visual presented. Emotions and ideas, the sculptures now in a state of consciously making us ask questions.
‘Souls’ became the laconic title of the next body of work but in this case the souls of sculptures compressed into the minimal form. If our human body is like the clay then the soul is a distinct other entity within the human framework and has three states of existence, base desire, that which our bodies need to survive, secondly the soul in a state of consciousness when we start questioning and discerning and a final stage where one is at peace and rest. The purification and development from the first to the third is a life long pursuit. A wrestling between each stage, a honing and a shaping of our inner reality.
Stripping the figure right down to its most minimalistic form resulted in the ‘Evolution’ both in the title of this piece and the progression into a new theme of work. In keeping with the philosophy of our bodies being merely a vessel for the energy that makes us. What are we without our bodies. Taking away the matter, the material and focusing on what gives us shape.
The college effect of using steel and mannequin parts also another part of the journey that came about from the idea of mixing both realism and minimalism together. It can sometimes be a struggle, living in day-to-day reality whilst maintaining a connection with an unseen reality but the reward is endless.
‘The Smoker’ became a turning point for a new idea. Using car exhaust parts to form an idea, an outline.
In nature there is no outline, all that is created is seen by what appears in front or behind. What is the reality of what we are seeing? We only see an edge because of the layers of things. So the line of the house I see outside the window is only visible because of the clouds behind it. In these images of new work not yet finished (so a sneak preview) the beginning of a new stage in the development of the sculptural journey can be seen. A new material enabled an exploration of ideas, in full circle a return to the initial curvature and idea of line . It redefines or explores further the idea of the outline, taking it to the next level in abandoning the matter within completely and focusing purely on the edge.
This reflects the spiritual journey of focusing on our true self, the ethereal essence within us which ultimately outlasts the earthen vessel carrying us throughout this realm of our existence and onto the next. It is certainly a way of seeing the world, both as a sculptor and following a spiritual path, a gift I am eternally grateful for. In a fitting completion to this entry yesterday the sculptor discovered a new dimension to this new work which symbolically connects the two, but I shall leave that to write about once the sculpture is complete and our spiritual retreat which we are about to embark on has ended.